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What Is The Last Score You Listened To? (older scores)


Ollie

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GRAND BUDAPEST HOTEL - Alexandre Desplat

Entertaining ragtag collection of vaguely romanian/gypsy/zither themes with the occasional low male chorus vs. hammond organ-quirky stuff (it's a Wes Anderson movie, after all). Think of Morricone's SICILIAN CLAN or an indefintive number of italian/french 70's score by the likes of Nicolai, de Roubaix or Cipriani as a reference. No score as such, rather a collection of entertaining vignettes, it's quite fun but nothing you really need to listen all the way through.

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Yeah, and thanks to Koray for bringing it to my attention.

Winter's Tale - Hans Zimmer, Rupert Gregson-Williams

This is a truly lovely score, one that I think a lot of people here would enjoy.

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True. But I think everyone here would love anything by Goldenthal's hand. I know there are a good deal of Sphere fans out there.

But I bet a lot of people have never heard of The House of Spirits.


Winter's Tale - Hans Zimmer, Rupert Gregson-Williams

This is a truly lovely score, one that I think a lot of people here would enjoy.

Found it underwhelming actually, but it is pleasant stuff. And of course, I don't meant to slight Zimmer by saying this, but I think most of what we're hearing in this score is by Gregson-Williams.

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Fantastic Voyage by Leonard Rosenman

Karol

Is it fantastic?

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It's very impressionistic. Not really thematic - there is one motif really that reminds me a great deal of Goldsmith's Alien theme. It's the kind of score that used to be a great artistic experiment but now you see it as somewhat naive. It has charm, but won't be an easy recommendation for most people. Cute.

Karol

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It's very impressionistic. Not really thematic - there is one motif really that reminds me a great deal of Goldsmith's Alien theme. It's the kind of score that used to be a great artistic experiment but now you see it as somewhat naive.

What?

It's not impressionistic. It's steeped in the lyrical modernism of Italian composers like Dallapicola, Maderna and Berio, with a bit of Sessions and Berg thrown in.

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"Dated s-f" sound. It's hard to take it seriously, for similar reasons some people can't stomach his Trek score. But I do like both, as well as his LOTR music. His Helm's Deep kicks major butt!

Karol

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"Dated s-f" sound. It's hard to take it seriously, for similar reasons some people can't stomach his Trek score. But I do like both, as well as his LOTR music. His Helm's Deep kicks major butt!

It's not that much more dated than JG's POTA, Courage and Steiner's ST:TOS music, or other pre-synth sci-fi scores. I also think a lot of the datedness has got to do with the dry as a desert acoustics of the recording. I'd love to hear how the score would sound with a wet, spacious, re-recording. I think the City of Prague are finally up to it (they definitely weren't in the 90s).

There's also the case that since so many now are conditioned by the repetition of (pseudo) minimalism and pop music, any older, wilder, more acrobatic score like this sounds to them dated, silly and overzealous.

Sad.

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Oldboy. While the score is a disappointment overall and a complete mishmash of different, mutually exclusive, styles, it's hard for me to completely dismiss. There are some bits that are really good, especially this track - I like how it bridges the gap between modern thriller and the more traditional scoring:

http://youtu.be/EfIaG6OiVXg

:music:Evil Dead

Karol

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True. But I think everyone here would love anything by Goldenthal's hand. I know there are a good deal of Sphere fans out there.

But I bet a lot of people have never heard of The House of Spirits.

Then it can't really be underrated. ;)

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Stargate Continuum - Joel Goldsmith

There's a bit too much underscore here, but some really beautiful themes and exciting action here nonetheless. I wish "Ark of Truth" wasn't so pricey and/or hard-to-find, I'd buy that too.

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I've had a difficult time getting into any of Shore's non-LOTR work (other than S.U.N.), but I did find Hugo probably the most accessible out of the ones I've tried. Helps that I loved the movie

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Just finished Speed by Mark Mancina

and now moving onto

The Music of ITC Disk 2

Titles & Cues from:

Randall & Hopkirk Deceased - Edwin Astley
Strange Report - Roger Webb
The Persuaders! John Barry/ Jackie trent & Tony Hatch / Ken Thorne
Jason King - Laurie Johnson
The Protectors - Mitch Murray & Peter Callender / John Cameron
(including Avenues and Alleyways-Tony Christie's no.37 hit in 1973)
The Adventurer - John Barry
The Zoo Gang - Paul McCartney and Wings / Ken Thorne
Return Of The Saint - Brian Dee and Irving Martin / John Scott / Guido & Maurizio de Angelis

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John Carter by Michael Giacchino:Golly gosh, I guess Blume was right, it's kind of nice. ;)

How to Steal A Million & Bachelor Flat by John Williams

First Knight by Jerry Goldsmith

The Ghost and the Darkness by Jerry Goldsmith

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The original score CD has got to be the most out-of-chronological order CD of all time! I mean, the climax of the movie is track #2! And the last track before the end titles is from the very beginning! It's all quite odd. It does kind of work in that arrangement though, and pretty much features all of the highlights of the score.

The La-La Land CD features the Complete score, in chronological order, plus the Billy Idol song at the end. So the score presentation is more fleshed out with some of the shorter cues that were left off of the old CD, including some great action material. Plus there's a great booklet with extensive liner notes by John Takis. Definitely recommended!

http://lalalandrecords.com/Speed.html

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You've heard all the recent ones?

His recent work e.g. on Sherlock didn't exactly set my world on fire.

Arnold had such an auspicious start for his career that it is tough to top those big old fashioned orchestral Hollywood extravaganzas in this day and age.

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Yea, and the Varese version has a couple flaws that would need to be rectified as well. I'm actually surprised another label hasn't already released an updated version.

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Braveheart - James Horner

The Da Vinci Code - Hans Zimmer

There's something about these two composers that sounds more "made in Hollywood" than most others, and I mean that in a good way. You can feel something about the world around them, that they write in; Zimmer in his opium den/studio, and Horner in his secluded home. Hard to explain, but some composers' music just shares some indefinable qualities with the time and place that it comes from, in my mind.

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